Tag Archives: Props

Props from The Abduction from the Seraglio To Know About

Share Set in the 1920s aboard the Orient Express, The Abduction from the Seraglio features some interesting props to look out for when seeing the show. Here’s a list of our top three favorites – see if you spot them … Continue reading

Posted in Behind the Scenes, Did You Know? | Tagged , , , | Leave a comment

What Is It? Objects That Help Make Opera Magic.

The Tales of Hoffmann (2002); Photo: Robert Millard

The Tales of Hoffmann (2002); Photo: Robert Millard

Have you ever wondered – “How’d they do that?” Opera brings stories to life, and the magic you see on stage is often the result of incredible ingenuity on the part of our behind-the-scenes artisans. We’ve rounded up a few of our favorite objects used in productions—old and new, both onstage and off—to give you a glimpse at what’s involved in staging the operas you love.

Can you guess what these objects are for? (The answers are below, but no cheating!)


  1. The torches we use onstage have a name that references a crucial safety feature. What are these props called?
  2. Butane-Bufer
  3. Dead Man’s Torch
  4. Burnless Bunsen
  5. Touchable Torch

… Continue reading

Posted in Did You Know? | Tagged , , , , | 1 Comment

5 Macbeth Props That Will Keep You Up at Night

Witches. Cauldrons. Prophesies. Runes. Our production of Macbeth is the stuff nightmares are made of – in the very best and haunting way. When it comes to props, director Darko Tresjnak wanted objects capable of truly terrifying and also intriguing an audience.

Here’s our list of 5 Macbeth props that will keep you up at night.

Bloody Head in a Burlap Sack

Head of Caudor

The nightmare-inducing props start at the very beginning of Macbeth, when messengers from King Duncan present Macbeth and Banquo with the head of the executed Thane of Cawdor in a bloody burlap sack. (Macbeth gets the dead man’s title, following the prophecy of the witches.)

Duncan’s Body

Duncan's Body

(spoiler alert!), Macbeth and Lady Macbeth murder King Duncan in the first act so that Macbeth can seize the throne. During the second scene, Duncan’s body is brought out on a golden bier, very slowly, to emphasize the gore. While a white sheet is placed over the corpse, it is clear that Duncan’s throat has been slashed, and the Special FX blood ensures that his body appears freshly killed.



Macbeth and Lady Macbeth present these skulls to the audience at the end of the opera – creepily representing their doomed fate. Flashes of light illuminate these two props and they are the last thing seen as the curtain falls – a haunting image not easily forgotten.

… Continue reading

Posted in About Our Shows, Did You Know? | Tagged , , , , | Comments Off on 5 Macbeth Props That Will Keep You Up at Night

Top Gear: Opera Edition

LA Opera uses some of the most intriguing vehicles in its productions. From trucks and cars to modes of transportation only imaginable in the arts world, prop vehicles help tell grand opera stories. They are even sometimes rare and built entirely from scratch or refurbished by our technical crew to serve the needs of a production. Take a look at the vehicles we “drive” in our operas in the roundup below.


Peugeot Before and After; Photo: Studio Sereno

Peugeot Before and After; Photo: Studio Sereno

When the technical department was tasked with sourcing an 1890 Peugeot Type 2 (one of the earliest French motorized vehicles) for La Bohème, they realized how difficult this would be. There were none of these Peugeots anywhere in America, not even in museums. Working from only an 11”x17” photocopied image, a team at Studio Sereno built a fully battery-powered replica of the original model. This vehicle will be seen live when La Bohème opens May 14.


Nino Machaidze as Violetta, making a grand entrance at her own party in Verdi's La Traviata (2014); Photo: Craig T. Mathew

Nino Machaidze as Violetta, making a grand entrance at her own party in  La Traviata (2014); Photo: Craig T. Mathew

Our Roaring Twenties-set production of Verdi’s La Traviata features a 1929 Rolls Royce sourced from a private owner. Director Marta Domingo saw a photograph of the elegant car in 2006 and loved it so much, she made it a starring prop in her production. (What better way for glamorous party girl Violetta to arrive than in this stylish vehicle?)


… Continue reading

Posted in Behind the Scenes, Did You Know? | Tagged , , , , , , , , , , , , , , , | 2 Comments

5 Things You May Not Know About LA Opera’s La Boheme

Since film director Herbert Ross (Steel Magnolias, The Turning Point) first envisioned LA Opera’s production of Puccini’s La Boheme in 1993, it’s been staged frequently, wowing Los Angeles audiences time and time again. Before the return of La Boheme in May, here are five things you may not know about LA Opera’s iconic production.

Herbert Ross added a subtle cinematic take to La Boheme.

Ross looked at the opera through the lens of an experienced filmmaker. For example, Acts I and IV take place in a garret, the loft space inhabited by the four bohemian men. Most productions only show the interior of the garret. Ross recognized that it would be much more dynamic to have the garret be but one piece of an entire rooftop setting. In our production, audience members not only focus on the singers, but also what’s going behind them, around them, within the environment of the set. This cinematic staging brought the beauty of Paris to life.

La Boheme (2012); Photo: Robert Millard

La Boheme (2012); Photo: Robert Millard

 The Bohemians’ garret is inspired by an actual building in Paris.

The Bohemian’s garret is inspired by the Bateau-Lavoir, a run-down building in Paris where Picasso (and other painters in the period) lived and worked during the early years of their careers.

… Continue reading

Posted in About Our Shows, Did You Know? | Tagged , , , , , , , , , , | Comments Off on 5 Things You May Not Know About LA Opera’s La Boheme

Moby-Dick by the Numbers

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

Jay Hunter Morris as Captain Ahab in Moby-Dick (2015); Photo: Craig T. Mathew

Moby-Dick is an epic production with some pretty impressive numbers to back it. The Moby-Dick set weighs approximately 95,000 pounds. This number includes the masts, rope, sails and cyc (what’s a cyc, you may ask, find out here) – all of which come together on the Dorothy Chandler Pavilion stage to form the Pequod. The Pequod’s masts on stage are 36 feet tall, towering over the opera stage, making the ship come to life (click here to learn more about the anatomy of the Pequod).


Everyone knows the Pequod wouldn’t be complete without 1 fiery cauldron to render whale blubber. Speaking of whale blubber, there are 85 pounds of fabricated whale blubber used in the production of Moby-Dick. There’s no whale blubber without harpoons and other weapons the crew aboard the Pequod use to hunt.

… Continue reading

Posted in About Our Shows | Tagged , , , , , , | Comments Off on Moby-Dick by the Numbers

Norma by the Numbers

Our upcoming production, Norma is a phenomenal production that displays Angela Meade’s and Jamie Barton’s electric vocals. But Norma is a huge production in more ways than voice. There are some rather impressive and interesting numbers to note that an opera goer might not think about during the show.

Angela Meade as the title character in Norma at Washington National Opera (2013)

Angela Meade as the title character in Norma at Washington National Opera (2013)

Before opera fans even see the show, a crew of 46 people helped load in the set.

The giant set includes a unique assortment of props, perhaps the most notable being 1 giant full moon.

Let’s talk about costumes for a second. Norma’s bronze and elaborately beaded bodice alone required 18 hours for a very talented seamstress to assemble.

The story of Norma features 2 fiery divas, not battling out for the love of one man, but instead joining forces in this ultimate girl power opera. The show features a total of 6 principal artists, 43 chorus members, 12 adult supers, 2 child supers and 7 dancers.

Norma opens November 21st and runs through December 13th. Be sure to grab tickets to the performance that the New York Times states is an opera “that every opera lover should hear.” Keep an eye out for the giant moon!


… Continue reading

Posted in About Our Shows | Tagged , , , , , | 1 Comment

Setting Sail at LA Opera

The cast of San Francisco Opera's Moby-Dick (2013)

The cast of San Francisco Opera’s Moby-Dick (2013)

Props can vary in size, shape, color and just about any other fashion imaginable. Some even float (well, kind of). Boats can play a large role in opera, adding an aquatic element to the production, captivating the audience’s attention and taking them on the cruise of a lifetime.

Throughout the years, LA Opera has used many forms and types of boats as props to make each show come to life on the stage. Past productions using boats in the set include II Tabarro (2008), II Postino (2010), The Flying Dutchman (2013), Billy Budd (2014), Jonah and the Whale (2014), Florencia en el Amazonas (2015), Hercules vs Vampires (2015) and, of course, Moby Dick (2015). Some of these productions used actual boats salvaged from retired fishermen, others used rented prop boats, and some even used boat silhouettes projected onto the stage.

… Continue reading

Posted in About Our Shows | Tagged , , , , , | 2 Comments

A View from the Bridge

Giacomo Puccini’s Gianni Schicchi and Ruggero Leoncavallo’s Pagliacci are rarely – if ever – done together. The most common pairing for Pagliacci is Pietro Mascagni’s Cavalleria Rusticana, another tragic love triangle of sorts. This season, LA Opera has forgone tradition by staging two gigantic productions together in its season opening double bill. It’s a marriage of comedy and tragedy and a posthumous reconciling for two composers, who fought against each other so fervently, after Puccini premiered La Bohéme (Leoncavallo also completed a version of the Bohéme story).

It’s also a huge undertaking set-wise.

Crew member lowering Pagliacci set platforms

Crew member lowering the Pagliacci set platform

From their view in the house, audience members are not privy to the pure magic that goes on behind the curtain, while they are in the midst of intermission. But with a view from the bridge, it’s possible to see both the production and the set-up.

The bridge is a platform walkway, connecting our second-floor backstage area with lighting equipment. Before you ask, this seat is not open to the public, but it does provide an interesting view of what it takes to stage a sizeable double bill, such as Gianni Schicchi/Pagliacci. Once the curtain falls on the 50-minute Gianni Schicchi, it’s the stage crew’s time to shine. Over the course of the next 30 minutes, Schicchi’s gigantic, 1940s-inspired Florence set is removed and a 1980s-inspired bohemian Pagliacci set takes its place.

… Continue reading

Posted in About Our Shows, Behind the Scenes | Tagged , , , , , , , , , , , , | Comments Off on A View from the Bridge